Abstract The iconic and diagrammatic features of abduction, as expressed in Peirce’s works after 1890, allow one to re-read the Kantian concept of schema. By means of this new reading, it is possible to consider the dynamics between legality and creative acts, which, according to Emilio Garroni, keep cultures alive. This process can be analysed by a semiotic theory that could combine the features of Kant’s Aesthetic Judgment (as an answer to schema’s problems) and Peirce’s last theory of abduction. In this way, it becomes possible to go beyond the simple subsumption, through Reflective Judgment, of sensible intuitions under a concept. Thus, creativity becomes the process, both mental and cultural, whereby a new regularity come from the background of the previous one as a result of the free play of our faculties (Musement), which sets links between universes of experience apparently very distant one from another.

中文翻译：

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Garroni，已故的Peirce和创造力问题

摘要绑架的标志性和图解特征，正如皮尔斯在1890年后的作品中所表达的那样，使人们可以重新阅读康德式的图式概念。通过这种新的解读，有可能考虑合法性与创造性行为之间的动态关系，根据埃米利奥·加罗尼（Emilio Garroni）的观点，这可以使文化保持活力。这个过程可以用符号学理论来分析，该理论可以结合康德的审美判断（作为对图式问题的回答）和皮尔斯的最后绑架理论的特征。通过这种方式，有可能超越对概念下敏感直觉的简单归纳，通过反思性判断。因此，创造力成为一个过程，无论是在精神上还是在文化上，由于我们各部门（博物馆）的自由发挥，一种新的规律性从先前的背景中产生了，